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Howlings’ is comprised of three electronic works using divergent compositional techniques and technologies, and yet all sharing a common lineage of expression.  All share aspects of minimalism and ambient music -limited sound sources, gradual evolutions and repetition – and yet all can be poignantly dramatic, sometimes explosively so…



…sometimes reminiscent of Eno’s work, it comes closest to the ambient landscapes of American composer Jeff Greinke, expressing at times subtle feelings of dread, at others a tinge of melancholy, and even hints at a new form of aural beauty.

Beeson’s Howlings is one of the most accomplished and pleasurable electroacoustic CDs I have encountered, and I would advise those who enjoy adventures in music to search out this recording and enter into a sonic space that will enchant and mesmerize.
Richard Truhlar – MusicWorks

Lupus Angelus – A single short improvisation on a KORG Poly-Six was judiciously treated in a multi-tracking environment.  The result is an astonishing blend of ‘howlings’; whales, wolves, whole schoolyards of children shrieking, peaking and crumbling into a preternatural sonic sub-basement, all to emerge once again…

Soulscaping – Using guitar and delay processing simple repetitive,  gradually evolving, and rhythmically pulsing melodic patterns create a shifting sonic bed which is  countered/overlayed by an ethereal and yet sometimes anguished voice.

Sud – Using a variety of delay processing improvisations, found sounds, samples, layers of loops, and intensive multi-tracking Sud is an  orchestrated evolution or narrative.  The whole process is structured by two very subtle rhythmic elements falling apart and meeting again twice, an almost implicit sonic cycle.  Throughout these cycles innocuous sonic elements build, brood, increase in intensity and complexify.  The co-incidence of  the rhythmic elements coincide with/result in sudden ruptures, collapses, outbursts, catastrophes, resulting in radical and permanent shifts in the sonic environment.